“All we can do is what feels right”
There’s been something really quite moving about the second series of Humans, the Sam Vincent and Jonathan Brackley Channel 4 drama which has just wound to a close. In a world that started off examining the diametrically opposed differences between humans and synths (series 1 review), the stark black and white palette of the show has moved markedly to a murky shade of grey on both sides, complicating the actions of both parties to make us really appreciate the difficulties in deciding right and wrong.
So where the renegade synth Niska (a brilliant Emily Berrington) has decided to subject herself to human justice in order to try and find some common ground, newly awakened Hester goes fully rogue in defining humans as the absolute enemy, to brutal effect in a chilling performance from Sonya Cassidy. And questions of identity are no less complex on the human side, as the show toys with ideas of humans opting to live life as a synth and experimenting even further with technology. Continue reading “TV Review: Humans Series 2”
“Man is a giddy thing”
Much Ado About Nothing
Quite a bold gambit here, as Jessica Swale’s Sicily-set scenes are interpolated with Jeremy Herrin’s glorious 2011 production. And most glorious within that production, Eve Best’s heart-breaking, life-affirming recounting of a star dancing is placed front and centre. So Katherine Parkinson and Samuel West are up against it a bit, swanning luxuriously but longfully around the Villa Ida in Messina, never too far from Best and Charles Edwards doing Beatrice and Benedick as well as they ever have been done.
All’s Well That Ends Well Continue reading “The Complete Walk, from the comfort of your sofa #9”
“Though I look old…I am strong and lusty”
From the minute Michelle Terry’s Rosalind launches into an actual tizzy at the sight of Orlando’s ripped body (an inordinately but irresistibly muscular Simon Harrison), the warmly joyous spirit of Blanche McIntyre’s As You Like It is never in doubt. The contrasting textures of Shakespeare’s elegant yet complex comedy are well balanced, its musical elements pushed to the forefront with a folkish score from Johnny Flynn but above all, there’s a sense of intelligent fun that delights in taking its time to reveal itself.
Terry has been establishing herself as one of our leading Shakespeareans and this energetic and impulsive take on Rosalind is an absolute privilege to watch. Constantly on the edge of her emotions, she skips from the giddy heights of love at first sight to the crushing pain of banishment in the blink of an eye. And as she explores the nature of love and the heart, her heart in particular, her deftly comedic manner whilst disguised as Ganymede is just glorious, her continual delight at what she is discovering a constant joy. Continue reading “Review: As You Like It, Shakespeare’s Globe”
The Outer Hebrides have an austere challenging beauty about them and so too does Iain Finlay Macleod’s play Somersaults, relishing in an inscrutable quality which equally entertains and frustrates. After premiering in Edinburgh last year, director Russell Bolam has brought it to the intimate surroundings of the Finborough where its mix of English and Gaelic makes a fascinating exploration into where language and cultural heritage intersect in our lives.
Born on the Isle of Lewis (as was Macleod), David Carlyle’s James has since gotten it all. A lucrative dotcom business, a swanky pad in Hampstead, he even managed to marry the prettiest girl at university, but this has all come at a price – he’s become disconnected from his birthplace and increasingly so, from the language he spoke as a child, Scots Gaelic. And when his carefully constructed new life crashes down around him, it seems the ideal time to re-establish those links with home and the heart. Continue reading “Review: Somersaults, Finborough”
“It feels like we’re just generally waiting around for something to happen”
Set towards the end of the First World War in the trenches at St Quentin, Journey’s End is a compelling account of life in an officer’s dugout written by RC Sherriff who drew on his own experience there to create this piece of powerfully timeless drama. Never moving from Jonathan Fensom’s tightly designed set, it focuses particularly on Captain Stanhope who is leading this group of officers in the days before the Germans launched one of their fiercest offensives as they reflect back on what has happened, battle through the grim realities of day-to-day life on the front line and contemplate the conflict that lies ahead.
David Grindley’s production was first seen in the West End in 2004 and is a masterclass in showing that less can be so much more when deployed with the devastating effectiveness that we see here. One of the play’s recurring themes is the corrosive effect of the endless waiting on the minds of soldiers and officers alike, so much so that one almost longs for something to happen, despite knowing that the order to the front line is an almost certain death sentence. So when that finally happens, the way that the audience is left to make their own conclusions about what is going on in the trenches above from the noise of artillery and bombs whilst watching an empty stage, especially when it is the fate of two of the main characters that lies in the balance, it is an almost unbearable moment. Gregory Clarke’s sound design is perfectly throughout, ever-present but rising to uncomfortable levels as the characters we’re coming to know repeatedly go up to face unimaginable peril above ground and the finale, with the final onslaught represented by a deafening wall of sound which literally shakes the theatre, is a moment of stirring horror that really does leave one stunned. Continue reading “Review: Journey’s End, Richmond Theatre”
“It is possible as an artist to be involved with more than one person”
Reclining Nude with Black Stockings marks Snoo Wilson’s first new play in the UK since 1999 and opens at the tiny Studio 2 at East London’s Arcola Theatre. It looks at the life and career of Expressionist painter Egon Schiele, a controversial figure known for his nude and erotic images who stood trial for seducing his 13 year old model. We see his relationship with Gustav Klimt, his key mentor who gives him one of his ex-lovers as a muse, Walli, as he fights to make his art whilst the spectre of the First World War looms on the horizon.
From what is an interesting set-up, the play ultimately frustrates and disappoints. The plot makes no attempts to really delve into the motivations or the artistic drive behind Schiele, the way he worked and the choices he made, instead just rushing through the story of his career in a series of flat scenes. There’s a missed opportunity to strongly evoke the time and place, Vienna on the cusp of the First World War, I didn’t feel enough was done to establish this, but then the introduction of a failed artist by the name of Adolf Hitler by painting a moustache on an artist’s model felt like a huge step in the wrong direction. Continue reading “Review: Reclining Nude With Black Stockings, Arcola”